Wopo Holup's ceramic relief tiles depict a graceful flock of birds in flight. The work of art seems to melt into the station as the figures of the birds travel into and out of the gold band. Wopo Holup is concerned with integrating artwork into the site and finds inspiration in nature, and says, "I like to think about how people will participate with the work, how they will move by, around, through, or over it. With this movement in mind I have made works using several sculptural elements linking areas of a site into a single concept. I looked at the station's existing tile frieze and continued the frieze as a relief tile band. The relief shows a flight of birds - gold when they fly through the gold band and white as they travel over the white tile of the stairwells. I thought of the birds as flying along with the people as both ascend the stairs to the train's elevated platform."

In V-Beam, Christopher Sproat combines standardized New York City Transit hardware with his sculptural vision to produce good lighting, signage, and air circulation for the customer's convenience and safety in this major station. In order to maintain a sense of open space, the piece does not block the view of the station's vaulted ceiling. This is a MTA Arts for Transit project.

The historic ceiling in the main concourse at Grand Central Terminal reveals the night sky with golden stars that form the constellations. Grand Central becomes a metaphor for our connection with the wider world beyond New York City and As Above, So Below takes the viewer around the world to the night sky above five different continents, representing myths, civilization, heavens, and the underworld. These scenes bring to life ancient tales that demonstrate how the stories told about the heavens reflect the way we live on earth. A close look at any of the faces in the work reveal their diversity, as indeed, the people in these mosaics represent many different backgrounds. However, the artist has altered them to take on the attributes of mythical figures. The work summons the everlasting and the ephemeral, reminding us of our spiritual and worldly past while we hurry through the station.

In Sirshasana, a sculptural chandelier in the shape of a golden-rooted olive tree suspended above the street-level entrance to the Grand Central Market, Donald Lipski drew upon Hindu and Greek lore. "To the ancient Greeks the olive tree symbolized freedom and purity," he explains. "And the name Sirshasana refers to a yoga headstand posture - the inverted tree ...." With branches that span twenty-five feet and 5,000 brilliant crystal pendants, the tree dominates the area, bringing the feel of an outdoor market. The space was designed so that morning sun bathes the tree and floods the market with light. The form has writhing, enticing, and unexpected elements, with the base of the tree finished in gold and crystals dangling in place of olives In addition to alluding to the decorative chandeliers in Grand Central, the tree is a comment on the allure of the exotic and tempting wares sold in the marketplace. This is a MTA Arts for Transit project.